Yasir Miy - Nolur x Aynur Aydın - Chord

Key Db major – Bb minor Chords Bbm, Gb, Fm, Ab, Ebm Easy key G (capo 6)

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Capo 0

Bbm  Ab  Gb  Fm

Bbm          Gb  Bbm
Hiç bir umut yok mu
        Gb  Bbm         Ab  Gb
Hevesin yok mu, hediyem ooolsun
        Bbm
Bunca zaman (bunca zaman)

Bbm          Gb  Bbm         Gb  Bbm
Bir bakıma güzeldi, yakınıma geldi
           Ab  Gb        Bbm
Kaç kez gerçekti, onca zaman

   Fm             Ebm
Söyle bakmadan da gördüm
             Bbm
Ne yalanları duydum (ne yalanları duydum)

Ab               Gb
Söyletme, n’olur anla
      Fm 
Bir zamanlar
             Bbm             Ab
Seni kendime hapsetmiştim, kolay değil

          Gb         Fm
Söz verip gitme, olmadı yar
              Bbm            Ab        Gb
Ne bu bendeki özlem miydi, kolay değiiiiil

Fm  Bbm  Ab  Gb  Fm  Bbm   Ab  Gb

   Fm             Ebm
Söyle bakmadan da gördüm
             Bbm
Ne yalanları duydum (ne yalanları duydum)

Ab               Gb
Söyletme, n’olur anla
      Fm 
Bir zamanlar
             Bbm             Ab
Seni kendime hapsetmiştim, kolay değil

          Gb         Fm
Söz verip gitme, olmadı yar
              Bbm            Ab        Gb
Ne bu bendeki özlem miydi, kolay değiiiiil

Fm  Bbm  Ab  Gb  Fm  Bbm   Ab  Gb

    Fm                    Bbm
Olmadı yar, ne bu bendeki özlem miydi
  Ab        Gb  Fm  Gb  Fm
Kolay değil

Fm
Hiç bir umut yok mu

End of song Play again?

Yasir Miy - Nolur x Aynur Aydın Tabs

NotesX

Harmony analysis

Yasir Miy – Nolur x Aynur Aydın: key and chord analysis

The song opens on Bbm and ends on Fm. Its chords belong to both Db major and Bbm, so every chord below is read both ways.

Major view

Db major

Brightness rank 2/7 (bright)

Characteristic notes

7 = C (leading tone, pulls home)
4 = Gb (the note that leans on the 3rd)

Minor view

Bb minor

Brightness rank 5/7 (leaning dark)

Characteristic notes

b6 = Gb (the minor's melancholy)
b7 = Ab (natural-minor colour)

Which side does the ear lean to?

Our reading: to us the song feels closer to the Bb minor side because it opens on Bbm and Bbm is heard 20 times while Db never appears. That is an interpretation, not a rule — the same chords are just as valid seen from Db major, and switching between the two views is exactly where the practice value lies.

Chord degrees: major and relative minor

Show the degrees above the chords — relative to Db or to Bbm; comparing both readings is a practice of its own.

Every chord of the key, listed 1 to 7 separately for each key. Chords played in the song show how often they appear; chords from outside the scale sit next to their own degree.

Seen from Db major
Degree	Chord	Role	Notes	In song
I	Db	Tonic — home	Db · F · Ab	—
ii	Ebm	Supertonic — prepares the dominant	Eb · Gb · Bb	2×
iii	Fm	Mediant — a tonic-family shade	F · Ab · C	15×
V/vi	F	Secondary dominant V/vi — leads to Bbmsecondary dominant	F · A · C	—
IV	Gb	Subdominant — moves away from home	Gb · Bb · Db	19×
V	Ab	Dominant — strongest pull home	Ab · C · Eb	14×
vi	Bbm	Relative minor — the melancholy side	Bb · Db · F	20×
vii°	Cdim	Leading-tone chord — tension	C · Eb · Gb	—

Seen from Bb minor
Degree	Chord	Role	Notes	In song
i	Bbm	Tonic — home	Bb · Db · F	20×
ii°	Cdim	Supertonic — prepares the dominant	C · Eb · Gb	—
III	Db	Relative major — the bright side	Db · F · Ab	—
iv	Ebm	Subdominant — moves away from home	Eb · Gb · Bb	2×
v	Fm	Minor dominant — soft pull	F · Ab · C	15×
V	F	Dominant — borrowed from harmonic minor, pulls hard to the tonicharmonic minor	F · A · C	—
VI	Gb	Submediant — warm colour	Gb · Bb · Db	19×
VII	Ab	Subtonic — steps back to the tonic	Ab · C · Eb	14×

Analysis

The key pair is Db major and its relative Bb minor (5 flats). 5 different chords appear 70 times in total; 5 of them sit naturally inside the shared scale. Everything stays inside one scale, which is why the song is easy to follow by ear.

Chord movement

Fm Bbm Dbiii → vi Bbmv → inatural-minor cadence ×10
Gb Bbm DbIV → vi BbmVI → iVI → i ×6
Ebm Bbm Dbii → vi Bbmiv → iminor plagal ×2

The move to watch is Fm → Bbm, heard 10 times. From the Bbm side it is v → i (natural-minor cadence: gentle, modal arrival); from the Db side it reads iii → vi. Knowing where these arrivals fall helps you feel the phrasing and anticipate the next chord.

Improvisation tips

Db major pentatonic and Bb minor pentatonic are the same five notes (Db – Eb – F – Ab – Bb): start from Db for a brighter phrase, from Bb for a bluesier one.
Over Bbm, land on Bb, Db, F — the chord's own tones always sound right on strong beats.
Over Gb, land on Gb, Bb, Db — the chord's own tones always sound right on strong beats.
Over Fm, land on F, Ab, C — the chord's own tones always sound right on strong beats.

The song on the circle of fifths

Played in the song — chord of the key
Played — the minor's harmonic V or a secondary dominant
Played — borrowed or outside chord
Home region: IV–I–V and ii–vi–iii

Empty slices are chords the song doesn't use.

Capo and easier keys

With Db major shapes

Capo 1 + C shapes
Capo 4 + A shapes
Capo 6 + G shapes

With Bb minor shapes

Capo 1 + Am shapes
Capo 6 + Em shapes

Easiest keys on guitar

6 semitones up · capo 6 keeps the original pitch
1 semitone down · capo 1 keeps the original pitch

The song's harmonic story

The opening Bbm lays a solid floor for everything that follows. The backbone is Bbm, Gb, Fm, Ab — vi–IV–iii–V from the Db side, i–VI–v–VII from the Bbm side. No chord leaves the shared scale, so a single pentatonic shape works over the whole song. Keep an ear on Fm → Bbm (iii → vi in Db, v → i in Bbm): natural-minor cadence — gentle, modal arrival. Ending on Fm, the song seals Db as home.

This analysis is generated from the song's chords by akorculuk's harmony engine using consistent rules. When you change key, the degrees stay the same; only the chord names change.